499. The colour of light hair being essentially the result of a mixture of red, yellow, and brown, we must consider it as _a very pale subdued orange-brown_; the colour of the skin, although a lower tone, is analogous to it, except in the red parts. Blue eyes are really the only parts of the fair type which form a contrast of colour with the whole; for the red parts produce, with the rest of the skin, only a harmony of analogy of hue, or at most a contrast of hue, and not of colour; and the parts of the skin contiguous to the hair, the eyebrows, and eyelashes, give rise only to a harmony of analogy, either of scale or of hue. The harmonies of analogy, then, evidently predominate in the fair type over the harmonies of contrast. 500. The type with black hair shows the harmonies of contrast predominating over the harmonies of analogy. The hair, eyebrows, eyelashes, and eyes, contrast in tone and colour, not only with the white of the skin, but also with the red parts, which in this type are really redder, or less roseate, than in the blonde type; and we must not forget that a decided red, associated with black, gives to the latter the character of an _excessively deep_ colour, either blue or green. _Of the Colours of the Hair and Head-dress._ 501. The colours which are usually considered as assorting best with light or black hair, are precisely those which produce great contrasts; thus, sky-blue, known to accord well with blondes, is the colour that approaches the nearest to the complementary of orange, which is the basis of the tint of their hair and complexions. Two colours, long esteemed to accord favourably with black hair—yellow, and red more or less orange—contrast in the same manner with them. Yellow and orange-red, contrasting by colour and brilliancy with black, and their complementaries, violet and blue-green, in mixing with the tint of the hair, are far from producing a bad result. _Of the Colours of the Complexion and the contiguous Drapery._ 502. The juxtaposition of drapery with the different flesh tints of women offers to portrait-painters a host of remarks, which are all the results of the principles already laid down. We shall state the most general: thus— 503. ROSE-RED cannot be put in contrast with even the rosiest complexions without causing them to lose some of their freshness. _Rose-red_, _maroon_, and _light crimson_ have the serious disadvantage of rendering the complexion more or less green. This is shown in the following experiment:—